摘要
赋作为一种特殊文体,从历代批评文献载体、"体类"探寻与对赋修辞认知的变移,已喻示了赋体创作论由"礼法"到"技法"的批评线路。这一批评线路的形成,源自汉代赋家"赋论尚礼"与"以礼衡赋"的创作实践与理论思考。随着魏晋赋创作主流由宫廷献赋向士族写作、赋作者由皇帝侍从向文士的转变,尤其是由文人赋作到唐宋科场考赋的衍化,使赋体技法得到了制度性的规范。而唐宋以后学者论古赋的"祖骚宗汉"与论律赋的"尊唐尚时",进而融会古、律以审视"体国经野"的气象与"音律合度"的词章,是融礼法于技法、归技法于礼法的理论构建。由此考察从汉人的"赋做什么"到魏晋以降"赋是什么"再到唐宋时代"赋怎么写"的赋论三阶段变迁,以及元明清赋论呈示出的由"赋怎么写"回归"赋做什么",立足于"赋怎么写"而示范以"赋是什么"的"经典",是省思赋体创作论的意义与价值。
As a special genre,the fu or rhapsody has been the subject of critical literature across successive dynasties.Changes in the exploration of this genre and in knowledge about fu rhetoric have revealed the critical evolution of theories of fu composition from the 'way of ritual' to the 'way of technique.' The critical path of this genre originated in the creative practice and theoretical reflection of the fu writers of the Han dynasty,in which 'ritual is to be prized in commenting on fu' and ' fu are to be assessed from the perspective of ritual.' The mainstay of fu composition under the Wei and Jin dynasties changed from offerings to the court to composition by independent scholars,who changed from being courtiers to being literati.In particular,literati fu became an item in the composition section of the imperial examinations under the Tang and Song,which laid down institutional norms for fu technique.From the Tang and Song on,scholars discussing the fu concluded that the ancient fu 'descended from the Li Sao and embraced the Han style' while regulated fulu fu 'honored Tang style and prized keeping up with the times.' They integrated the two forms of fu in order to examine the phenomenon of ' determining boundaries and measuring lands' and compositions in which 'rhymes and rhythms meet the standards.' This theoretical construction integrated ritual into technique and then returned from the latter to the former.Study of the fu has thus undergone a three-phase transition from 'What are fu for?' in the Han dynasty,to 'What are fu?' since the Wei and Jin and 'How are fu to be composed?' during the Tang and Song.In addition,the theory of fu during the Yuan,Ming and Qing dynasties reveals a return from 'How are fu to be composed?' to 'What are fu for?',starting from 'How are fu to be composed?' to illustrate the 'classic' question of 'What are fu?' It is here that the meaning and value of reflection upon the theory of fu composition lies.
出处
《中国社会科学》
CSSCI
北大核心
2016年第10期153-174,205-206,共22页
Social Sciences in China
基金
国家社会科学基金重点项目"辞赋与图像关系研究"(16AZW008)的阶段性成果
